Tag: fantasy

Star Trek Picard – Series 1 Episode 5 – Picard is not Picard and Seven is not Seven

Hmm. I wrote five pages of notes for the last episode; for this episode I wrote six – this is not a good sign.

This was not a good episode – for many reasons. Over the course of the series so far we’ve seen various problems: a lot of the dialogue is very unnatural; many of the characters are played over-the-top; the characters just exposit their backstories to each other or to holograms; alien races have lost all of their distinctive qualities and are now just space thugs. Many of these problems have been somewhat ignorable, because they’re only very apparent in one part of the episode, and this is the start of a new series anyway, and new shows tend to take a while to get going.

But in this episode we saw many of these same problems again, suggesting that these are going to be problems throughout the whole series, and this episode revealed some very big character problems. This episode also shows that the mystery of the Mars incident is not progressing well – I was amazed to find out that this series is only going to have ten episodes in it – this episode marks the half-way point, but the mystery has really only just been set up – nothing else has happened with it. By this point we should have found out something important about the mystery, but we haven’t. The ‘gang’ is still just wandering around the galaxy, looking for some sort of starting point. (Also, consider that it was only in episode four that the ‘gang’ first all assembled, with Elnor ‘binding his sword’ to Picard’s ‘quest’.)

I’ll get to the main problem with the episode in a few paragraphs, but first let’s get the simpler stuff out of the way.

Firstly, this episode was very gory. I personally am not a fan of gore – many people like it (and indeed, horror as a genre is often thought of as being part of a set of related genres with sci. fi. and fantasy), but I don’t. I detest the gory and the grotesque. (Anyone who’s read my books will have seen that while I don’t mind the gross (all of the trolls in OTSOT are described as being disgusting), I never describe gore, even when quite violent things happen in my stories.) This is just my preference, and I don’t hold it against the quality of the episode, because I know some people do like that stuff. However, I will say that this is yet another departure from the style of classic Star Trek. Classic Star Trek was not gory (or rather, there was an upper limit on how gory it was willing to be – a limit that was a lot lower than in this show). Other episodes in this show have had moments of gore too – like when we see doctors taking the implants out of Borg on the Artefact – it’s clearly a deliberate decision by showrunners to make the show more gory.

The show continues to have character problems – so, so many in this episode. The character of Raffi (whose full name is apparently Rafaela Musiker – interesting choice) continues to be an obnoxious mess. Firstly, Raffi has just become every single expert who’s normally on a Federation starship. Throughout the course of this episode we see that she is an expert hacker, an expert spy, a cultural expert, a chief medical officer, and a chief engineer. Throughout the ‘mission’ that they go on in this episode, she is the only one who knows anything about anything – all of the other characters are clueless and just listen to her tell them what to do. She has a detailed knowledge of the culture and technology on Freecloud, and how to infiltrate them. She knows enough about medical science and human physiology to create a substance that can block the special abilities of the Beta Annari. And she is apparently the only person who knows enough about transporter technology to give instructions on what to do to everyone else. This is unrealistic – it is not possible for one person to know that much about that many things. One of the good things about classic Star Trek is that the different skills of the different characters meant that no single character could solve every problem, and they had to work together. At one point Picard even says to Raffi ‘This is going to be very much harder without you.’ – Yes! Because she literally does fucking everything!

As a side note I really don’t care about this new thing with Raffi’s son. It just seems like some desperate attempt to tag on a ‘personal storyline’ to Raffi’s character, but it doesn’t seem to have any relation to anything else that’s going on in the show or anything to do with Raffi’s personality. It’s just a cliché of writing – you’ve accidentally created an overpowered character so now you have to tag on some ‘tragic backstory’ bollocks. A character’s own story arc should be interwoven and relevant to the main fucking story arc of the show – this is basic fucking shit.

That’s Raffi; now Elnor. Elnor so far has been completely fucking useless and has no personality. I mean really, what do we even know of Elnor at this point? What does he want? Why is he there? What does he really think of Picard? He chose this ‘quest’ because he thought it was hopeless – does that mean he thinks he’s going to die? How is he preparing for that? Or is he thinking of ways that he can make this ‘quest’ succeed against all odds? The show has not even begun to answer any of these questions.

At this point, the only personality trait that Elnor has is that he’s awkward. That’s it. But even that is not as concrete as it might superficially seem, because while we see lots of scenes where the other characters around him think that something he’s said is awkward, it’s actually not. Because of the very unnatural dialogue of the show, many of the things that other characters say are actually far more awkward than the few things that Elnor says. This results in what one might call ‘dramatic dissonance’, where what we are being told by the dialogue or the script or the writers is different to what we are being shown and what the audience thinks. All of the characters act as though Elnor is really awkward, but this is madness when every other character is actually more awkward.

Next: Agnes Jurati. This character is all over the place, but I will say that this character is much better in the serious moments than in the ones that try to be funny or matey. Alison Pill is actually an extremely good actor – her performance as Jurati kills Maddox is extraordinary. But she keeps being given crap lines to perform in the less serious moments.

As a side note: Maddox. Firstly, why is Bruce Maddox being played by a different actor? This character was a minor one-story character in TNG, and completely obnoxious. Why bring back a character like that if you’re not going to at least maintain the consistency and get the same actor? More importantly though, shortly before Maddox is killed, he says to Picard ‘Dahj is dead, isn’t she?’. The show deprives us of seeing his reaction when he learns this by having the character already know it. This is a thing that seems to happen a lot in modern television (and film) – where we just don’t see the reactions of characters to new information – and it’s bad. Stop it. If all good acting is reacting, how can we get good performances if we never see the bloody reactions! (And this was particularly annoying on this occasion because it’s so bloody unnecessary!)

But okay, let’s get to the big ones – the problems that really condemn this whole episode and this whole show: Seven of Nine is not the same character that we saw in Voyager, and Jean-luc Picard is not the same character that we saw in The Next Generation.

Seven of Nine is completely different. There are almost no similarities between this character in this show, and the real Seven of Nine from Voyager. They are two separate characters with the same name played by the same actress.

Now, some people may argue that characters change over time, and it has been, what, 20-ish years in-universe since Voyager? That’s a long time – people can change a lot over that time. Firstly, I disagree with this premise – I actually don’t think people change as much as some like to think – this idea that people change radically over the course of their life is a cliché – some people do, but most don’t. But even if people did change a lot over 20 years, I don’t think this is a good thing to do in fiction. This does not make for a good narrative – in fact it’s quite nihilistic. In most narratives, characters have some obstacle to overcome – some challenge to succeed at. Changing a character off-screen essentially involves giving them a new obstacle or challenge (or, as is the case in a lot of contemporary television and film, giving them no obstacle or challenge at all), which most of the time is not related or connected to their previous challenge. This means that essentially their previous challenge and success is meaningless and irrelevant – it didn’t matter whether they overcame the obstacle or not, because now they’ve just been given a new, different one. If characters are defined by the obstacles they overcome, then giving them a different obstacle makes them a different character.

So it is bad to outright change a character from a previous series. Even just from a pure entertainment point of view it makes no sense – people liked the old character, so why are you just replacing it with a new one that the audience may not like?

And the character of Seven of Nine has changed – quite drastically. Just look at any clips of Seven from Voyager, and you can quickly see that these are not the same character. Seven of Nine from Voyager is meticulous and diligent. She is no longer part of the Borg, but she does not outright hate them – she sees the advantages to some of the things they do, and thinks some of the things that humans do are strange. She gradually learns how to be more human, and enjoy human things, but it is not tragic. Seven of Nine from STP is a vigilante. She’s abrasive, and ‘doesn’t play by anyone’s rules’. She’s a space cowboy who’s tragically haunted by her Borg past. These are completely different characters. (Seven of Nine in STP is also selectively moronic – why, WHY, even though she is completely prepared to kill Bjayzl, does she allow Bjayzl to stand there monologuing for several minutes?! It’s Austin Powers levels of unrealistic incompetence!)

And now the big one: Picard. The character of Jean-luc Picard in this show is not the same character as Jean-luc Picard in The Next Generation. Considering that he’s the main character of the show, that’s pretty bad.

So far in this series I’ve been somewhat tolerant of the disparities between the two Picards – I’ve put it down to badly-written dialogue and the show getting started. But no – this episode shows that the two Picards are different characters.

Let’s look at the examples. Firstly, when Picard is talking to Seven, he says ‘You are taking the law into your own hands.’, referring to her being a vigilante. This line is ridiculous because Picard knows that no law is being enforced in this part of the galaxy, and he would know that in such a situation you have to follow your own principles and be strategic. Picard never just considered ‘The Law’ to be outright correct, and thus any violation of it to be automatically incorrect – many times he disagreed with what the law was, and deliberately went against it. He would not be an advocate for just following non-existent law for the sake of being lawful. He would have known that lawful and good aren’t always the same thing.

The Picard from TNG was the ‘philosopher king’ archetype – a character who is both an authoritative leader and a moral teacher – a difficult archetype to do right and one that’s not done often nowadays. The reason it’s not often done nowadays is because lots of film and television writers nowadays lack the profundity to have the character say anything with any real moral value. In this episode, the writers of this show tried to mimic this philosophical Picard from TNG, but lack the capacity. The result is that Picard is no longer a moral teacher, and is just as stupid as the rest of the characters.

Not only is the ‘philosopher’ part of Picard’s character missing, so is the ‘king’. This is connected to Raffi’s all-powerfulness. In all of these episodes, Picard is just standing around, asking other people to do things for him. He does not lead anyone at any point. You’d hardly even know he was an admiral at all.

Let’s look at another odd line. When Seven is about to kill Bjayzl, Picard says to her ‘This is not saving the galaxy – this is settling an old score!’. So, Picard knows that Bjayzl tortured Seven’s friend. The Picard of TNG would never refer to the torturing of someone’s friend as an ‘old score’ – he would take it far more seriously than that. Similarly, Picard would never talk about ‘saving the galaxy’ in this way. This isn’t fucking Star Wars. What Seven does isn’t saving the fucking galaxy – she is limited to one very small part of the fucking galaxy, and there are many parts of the galaxy that no-one’s even been to yet. It’s ridiculously melodramatic and Picard in TNG was anything but melodramatic.

As an aside, consider the scenes where Picard is down on Freecloud. It’s clear that Patrick Stewart had far more fun playing that character than he does playing Picard’s Picard. There’s also a bizarre moment where he says the words ‘appropriately sinister’ in a French accent, which is odd, because Picard can speak French – would he not just say the words in French?

The Jean-luc Picard in this show is not reminiscent of the character from TNG. The character actually reminds me far more of Professor Xavier from the X-Men. But in this series he has nothing interesting or meaningful to say, and does not actually take any actions in the story. In five episodes he doesn’t seem to have actually done anything to try to solve this mystery himself – he’s just been nearby to other people when they tell him things about the mystery. He has not solved or figured out anything himself, nor has he made any of the decisions for what to do next – Raffi does all of that. He’s just some guy, standing there, watching the other characters do things.

There are only five episodes left. I don’t think this show is going to turn around in that time. So far, what have we seen? A mystery that is moderately compelling, but which has hardly moved forward since the first episode, and which the main character has only had peripheral involvement in solving. We’ve seen no other interesting or new ideas – if this had been TNG, we’d’ve gotten five new, interesting, sci. fi. ideas by now. We’ve heard a bunch of annoying, over-performed characters say some very unnatural lines. And we’ve seen some other characters who have the same names as characters from TNG, some of whom are also played by the same actors, but who are completely different characters. So far, this series has mostly been a massive waste of time.

Star Trek Picard – Series 1 Episode 2 – It’s getting better

I thought the first episode of Star Trek Picard was okay – not great, but not a disaster either. The second episode was slightly better.

The plot remains compelling – we have a number of obviously-connected mysteries that we are gradually learning more about – it’s the usual stuff. I’m eager to find out why the synthetic humans went crazy on Mars, and what the Zhat Vash are up to.

It’s worth noting that so far this series has nothing on its predecessor – The Next Generation. For several months now I have been rewatching all of The Next Generation – I’m currently somewhere in series six. Star Trek Picard has a single mystery that is solved (we expect) over the course of a whole series. In The Next Generation, each episode introduces a new mystery, which the characters then solve by the end of the episode (apart from the occasional two-parter). Many of the single-episode mysteries from TNG are more exciting to watch than the whole-series mystery of STP. That’s probably because so far in STP, we haven’t gotten the sense that Picard is under constant threat – even though we know that there are certain Zhat Vash members who want to kill him. The threats of this series aren’t threatening enough.

Similarly, even though this series has done somewhat of a narrative replacement of the Tal Shiar with the Zhat Vash, the Zhat Vash don’t seem nearly as threatening or as interesting as the Tal Shiar did. I recently rewatched TNG: Face of the Enemy, and even though, technically, in the entire episode, we don’t actually see a member of the Tal Shiar, the way that the other Romulans react to Deanna Troi posing as a member of the Tal Shiar makes the organisation seem tremendously threatening and imposing. The Zhat Vash don’t have this effect yet.

There were some great performances in this episode: Alex Diehl was delightfully creepy as a synthetic human, and Tamlyn Tomita was brilliantly stern as Commodore Oh.

The main thing about the episode that I didn’t like – and this was so bad that it almost ruined the whole episode – was a line they had Picard say at one point: ‘I never really cared for science fiction. I guess I just didn’t get it.’

I don’t know what the idea behind adding this line in was – it’s very out-of-place in the episode – it really didn’t need to be there. Maybe the writers thought it would be funny – the irony that we’re all here enjoying science fiction but the person we’re watching doesn’t. Maybe Patrick Stewart, who is an executive producer on the show, and so may have had some say in the story and dialogue of the series, wanted to put the line in there because he, famously, doesn’t watch any Star Trek.

But what this line comes across as is a massive fuck you to fans. This is a line that is often said by people who don’t like science fiction – they just ‘don’t get it’. It’s an odd thing for anyone to say – what exactly is there ‘to get’ about science fiction – it just portrays worlds with different technology or different laws of physics – it’s not difficult. It’s a line that’s usually accompanied by the attitude that science fiction and fantasy are only for weird people or young people – the snobbish attitude towards sci. fi. and fantasy in which it is considered to be not as good as other genres.

Having Picard say this line puts him firmly in the group of people who think that you have to be a bit odd to ‘get’ sci. fi., and this is a massive fuck you to fans, because guess what: all of us watching do get it.

It’s possible that this line was put into this episode because the writers of this series don’t consider themselves to be sci. fi. fans – don’t consider themselves to be the sort of people who like sci. fi. – and that this line was a slight jab at fans – a kind of ‘Haha, we’re doing it our way now!’ – but this is wild speculation.

This line is also wildly unrealistic. Jean-luc Picard has spent ages studying physics over the years. As someone who did a physics degree, I will tell you: people who study a scientific subject tend to like science fiction. It is vastly more probable that someone like Jean-luc Picard would like science fiction than dislike it.

This line was so fleeting that it didn’t ruin the whole episode. However, I don’t want to see any more of that in this series – if I do, then I will judge the whole series by it.

Star Wars Is Dead – Part 1: Fan fiction pretending to be a reboot pretending to be a finale

Okay, it’s taken me longer to get round to the first part of this series than I expected, but let’s go.

This film is a massive fuck you to The Last Jedi.

This film was filled with retcons. I was actually almost impressed with the number of retcons in this film. I was also amazed at the kind of retcons we got. Some of the retcons were of the kind we’re used to seeing, where something that was possible in a previous film is now just not possible, and next to no explanation is given. Some of the retcons were of a different kind – which I’ve been calling ‘narrative retcons’ (which may not be the best name), where the act of undoing or replacing something is woven into the narrative – this kind of retcon seemed to be used to change the direction and style set-up by The Last Jedi. I didn’t even realise such ‘narrative retcons’ were possible before watching this film.

Now, before I start going through all of the retcons in this film, I want to assert that all retcons are bad. Having retcons in your film or television series or book is always bad – having them always makes your creative work lower quality than if it did not have them. Because fundamentally, a retcon is a discontinuity. (‘Retcon’ is an abbreviation of ‘retroactive continuity’, and was originally used to describe when the creator of a creative work – whether they’re an author or a film director or a film producer – either added something into a sequel work, or said something outside of any of the creative works in the series, that changes the meaning, or the sequence of events, the history, or the underlying physics or metaphysics, seen by the audience in the creative work, so as not to contradict something that is seen in the sequel work. Retcons are an attempt at providing continuity across the series of works. Because of this we might naïvely see them as continuities, rather than discontinuities. But the very fact that we the audience have to change our understanding of a part of the original creative work, so that on second viewing of the series as a whole it appears to have a continuity, means that there IS a discontinuity in our understanding of the story. In short, a retcon asks the audience to pretend they didn’t notice a thing from the previous parts of the story. A retcon is an attempt at giving the story continuity at the expense of the continuity of the audience’s understanding. So it is a discontinuity. In addition to this, the overwhelming majority of retcons are imperfect, and in their attempt to remove an inconsistency in the story, they just end up creating one or more other inconsistencies – as was the case with this film.) Discontinuities pull the audience out of the story – whether it’s a book or a television series or a film, a discontinuity reminds the audience that the world of the creative work is not real. Discontinuities lessen the immersivity of a story – they are the antagonists of immersivity. (This is why world-building is such a big part of writing science fiction and fantasy – you’ve got to make the audience believe that the world they are reading about could be real. If there are inconsistencies in your world design, it makes your world less believable.) Every time I see a discontinuity in a film, I am reminded that I am sitting in a cinema. This is not what I want. In a science fiction or fantasy film (or quite frankly any film), I want to forget that the real world exists – for between one and a half and three hours I want to imagine that the world of the film is all that exists, and I imagine that this is what a lot of the fans of these films want. Thus, all retcons are bad.

This is why I said, in the video I made about Episode IX before it came out, that I thought there was no possibility of this film being a good film. It either had to go with what it had been given from The Last Jedi, which was shit (that’s for another rant), or it had to retcon lots of things from the previous films, which would also have been shit because retcons are always bad. Whatever this film did, it would end up being shit.

But okay, onto the actual retcons. The main thing to point out here is that this film retconned all of the big things introduced in The Last Jedi. I would have thought that anyone who liked The Last Jedi would have hated this film because of that.

Firstly, the obvious one: in The Last Jedi it’s revealed that Rey’s parents are not anyone of significance within the galaxy. It’s also implied that they weren’t Force-users. This was massively, massively retconned in The Rise Of Skywalker (fuck I hate that title). Not only were Rey’s parents not ‘nobody’, they were very much ‘somebody’ – in fact they were some of the somebodiest ‘somebodies’ in the entire galaxy, because Rey is a grandchild of Emperor Palpatine.

Now, I personally don’t dislike this idea (other than the fact that it is a retcon – I would have liked this had they done the proper setup for it, but they didn’t, and now it’s a mess), but for those people who did like The Last Jedi, this must be pretty annoying. Defenders of The Last Jedi often exclaimed that it was a good thing that Rey was not related to any of the big Force-using families – why did everyone have to be related to everyone in this galaxy? Why did Force powers have to be inherited? Are the defenders of The Last Jedi annoyed by this change?

I don’t dislike the idea of this – I think had they intended this to be the case from the beginning, I think it could have been done very well. But the execution is hot trash. In TROS, after Rey finds out that she’s the grandchild of Palpatine, Kylo Ren uses the ‘true from a certain point of view’ angle (it’s pretty lazy writing to just do that one again) to show how what he said in TLJ wasn’t technically wrong. This means that Kylo Ren knew who Rey’s parents were back in TLJ – so he lied … … but … why? What reason did he have for lying at that point? As far as I can tell, there is none. (Also, if indeed Kylo Ren did find this out in TLJ, his reaction to it was remarkably unsurprised. This shows again how retcons are bad – expressions given by actors in previous scenes now no longer make sense.)

The problems go further than this. This film tries to retroactively explain Rey’s astonishing Force powers by linking her to Palpatine. Of course, one of the main criticisms of Rey from the last two films is that she’s a Mary Sue – she can just use the Force very well despite having no training. Connecting Rey to Palpatine, and indicating that that’s where her extraordinary powers come from is an attempt to un-Mary-Sue-ify Rey. But Episode VII is called ‘The Force Awakens’, and the message from that film is very much that the Force has ‘awoken’ in Rey (something which they continue leaning into in TLJ). But if Rey’s powers are inherited from Palpatine, how did they awaken? She had them all along. This change undermines the premise of this trilogy.

Okay, secondly: Snoke. This is one of the retcons that I class as a narrative retcon. Snoke remains dead in this film – they didn’t undo that. But they did undo the big thing that was done in TLJ. In TLJ, the Big Bad, the final boss, was killed using a very unsubtle play on words. This was hailed as revolutionary by film aficionados. We all expected that Snoke was going to be killed off at the end of the third film – that’s how it always goes – that’s one of the tropes of these kinds of films. Shock, he dies in the second film.

This film didn’t bring Snoke back, but it did undo the effect of killing him off. Killing Snoke meant that there was no Big Bad for Episode IX. Except … in the end … there was – this film just decided to bring back Palpatine instead. One Big Bad had been killed off, so they just brought in another one instead. The effect of killing off the Big Bad was nullified.

So this is a ‘narrative retcon’. They didn’t just straight-up bring Snoke back, but they changed the narrative to put the overarching story back into the place that it would have been had Snoke’s death not happened.

But this retcon goes deeper than this, almost in a way that suggests J. J. Abrams was insulted by the killing-off of Snoke, because this film completely removes Snoke as a character from these films. Early on in TROS, when Kylo Ren goes to visit Sheev in hospital, we see a large tank in the dark room where they keep Palpy. In this tank, we see several Snoke bodies. This means that Sheev literally created Snoke. And when Sheev says ‘I am every voice you’ve ever heard.’ (something like that – it’s been a few weeks), he must either mean that Snoke was a real person but who was Palpatine’s puppet, or Snoke was just under the direct control of Palpatine, using some other new Force power. Either way, Snoke only existed for the purpose of swaying Kylo Ren, probably only existed for a few years, and had no free agency. He effectively didn’t exist. That’s quite a monumental retcon.

Thirdly, the Holdo Manoeuvre. This was a full-on retcon. It was also a fuck you to fans, because they actually had a character ask a question that they knew fans would ask if they didn’t do this retcon: ‘Why not just use the Holdo Manoeuvre against Sheev’s fleet?’.

The response to this, from Finn, was ‘That’s one in a million.’ (something like that). This is the laziest fucking writing I’ve ever seen. He might as well have just said ‘Nah’. The Last Jedi introduced something into the Star Wars universe that was world-breaking. The existence of this as a thing that can happen means that a large number of events should have turned out differently, if this is to be a consistent universe. And the explanation we’re given as to why this thing doesn’t happen all the time is essentially just ‘it doesn’t’, which isn’t a fucking reason at all.

I have never seen such lazy fucking writing – why do you bother making films at all if you can’t be bothered to think about these things?

Those were the three big things from The Last Jedi that were retconned, but there were lots of other retcons too.

The biggest retcon of the entire film, of course, is Palpatine. At the start of this film, Palpatine is not dead. He did not die at the end of Episode VI (or he died and came back to life – since we don’t know the details the distinction is somewhat arbitrary).

Now, even before this film came out, I said, as did many others, that bringing Palpatine back was not a good idea. Palpatine being alive means that he didn’t truly die in Episode VI, which undermines the plot of Episode VI. At the end of Return Of The Jedi, all of the main characters celebrate the destruction of the second Death Star and the death of Palpatine (and consequently the fall of the empire). But this is now a hollow victory, because they didn’t truly kill Palpatine at all. This film completely changes the context and tone of the ending to ROTJ – the characters may be celebrating, but now we the audience know that they should instead be looking for Palpatine, either to kill him properly or to prevent him from coming back. The characters celebrate, but we the audience do not.

No explanation is given for how Palpatine survived – in true J. J. Abrams fashion. All we get is a repeat of Palpatine’s earlier line: ‘The Dark Side is a path to many abilities that some would consider unnatural.’ While this is not an explanation, it does reveal another (partial) retcon. This means that Sidious used the Force to stay alive – he did not just happen to survive by natural means. In the Prequels, Sidious says that only Darth Plagueis knew of how to cheat death using the Dark Side of the Force. So apparently, Sidious figured it out on his own at some point between the Prequels and the Originals. That’s not impossible according to the Star Wars universe’s own rules, so it’s not a full-on retcon, but we the audience know that this is a recent change, rather than a fact of the universe that was intended all along, so it still sticks out.

The main side-effect of Sidious being alive is that it undermines the finality of death in these stories. This is a problem that can exist in any story that brings characters back from the dead – either by making that physically possible in the world of the story, or by pretending that they were never dead in the first place. This is advice that writers are often given. Tension and suspense are created in your story because the reader or viewer does not want the characters to fail or to lose or to die – the audience has investment in the characters. Bringing characters back to life in your story ultimately removes death as a possibility – after all, if one character can come back once, surely any character can come back any number of times. It removes the stakes, and thus undermines the tension. We no longer fear that our protagonist may die in their fight, because if they do they can just come back to life.

And this is a problem we see in this film too. Sidious dies again in this film, but is there anything to stop him coming back again? Will he just come back whenever the franchise is in trouble? Death can no longer be a permanent victory against evil – the protagonists cannot win.

More on character-based retcons: this film gave us General Pryde. This I think is by far the most interesting, and funniest, of the retcons in the film. One of the complaints about The Last Jedi was that it undermined General Hux as a threatening villain. Hux was used as a comedy character. This made it very difficult to use Hux as a true villain in TROS, because we wouldn’t have taken him seriously. I think J. J. Abrams knew this, and that’s why we got General Pryde, played by Richard E. Grant. General Pryde is just another menacing First Order commander – on paper he is no different to Hux – but because we haven’t seen him be the butt of jokes in TLJ, he can actually be menacing – we the audience take him seriously. Pryde is a replacement for Hux.

This is another ‘narrative retcon’. The existence of Pryde doesn’t contradict anything we’ve seen before, nor does it change the meaning of anything we’ve seen before, but it does reverse the effect of TLJ by giving us a new secondary villain. It seems two villains from the previous film were replaced: Snoke was replaced with Palpatine, and Hux was replaced with Pryde. We now have our new primary and secondary villains.

The existence of Pryde isn’t interesting just because it is this different kind of retcon, but also because in this film, General Pryde shoots and kills General Hux. This was amazing when I saw it in the cinema (not in a good way) – they actually had General Hux’s replacement shoot General Hux! The replacement killed off the original! As retcons go, that is bold.

They killed off Pryde at the end of the film. (I don’t know why – he could have been a good villain for future films – maybe he’ll come back from the dead too.) But I wonder if there’s a hidden meaning here. The Last Jedi made Hux an unusable character; in the end it was Pryde / pride that killed him, and then Pryde / pride dies. Is General Pryde a jab at Rian Johnson? Johnson has aggressively defended The Last Jedi on Twitter ever since it came out – he has, it seems, always been proud of the film. Is Abrams saying that it was Johnson’s pride that killed Hux, and in the end pride dies because TLJ was hated by a lot of fans? I’ve heard stranger fan theories, and it would explain why this new general is called Pryde of all things.

While I’m on The First Order, there was another retcon there, and in some ways this is the worst one. In this film it is revealed that Palpatine has got a huge fleet of ships on Exegol. This fleet is bigger and more powerful than any other ever seen at any other point in the Star Wars films. Every ship in it is both a Star Destroyer and a Death Star (I’ll come back to that issue later). This fleet is more powerful than The First Order fleet was even before the destruction of Starkiller Base (gosh that seems like a long time ago now), since every five ships of this fleet is essentially another Starkiller Base. This fleet is part of what’s called The Final Order.

But what’s confusing is that Snoke, who apparently created the First Order, was a literal creation of Palpatine. Everything Snoke is and was was given to him by Palpatine. So was the First Order just part of the Final Order all along? As far as I can remember they have the same uniform. And when Palpatine reveals his fleet, thereafter there appears to be no difference between the First Order and the Final Order. General Pryde somehow gets from a First Order ship onto a Final Order ship – we never see how, and no-one in-universe seems to question it, so apparently none of them see any difference between the two. The Knights of Ren (when they make an appearance) also apparently switch from the First Order to the Final without any confusion. As far as I can tell, the First Order and the Final Order are one single organisation.

And this makes me wonder: do the people in the First Order know that they’re part of the Final Order? Some of them must do, surely, but apparently not Kylo Ren, otherwise he’d’ve know that Sidious was alive since Episode VII. This is a massive great inconsistency right in the middle of the film.

Also, how on earth does the Final Order survive out there on Exegol? They appear to have thousands of enormous ships. I know some people have done calculations for how many people must be on those ships – I can’t remember what they’ve said, but it could easily be tens of thousands on each one. There are potentially tens of millions of people living out there on Exegol, waiting for Sidious to do whatever he’s going to do. How do they live? Exegol doesn’t look like a planet that produces much food. And are all of these people people that they’ve taken from other parts of the galaxy and brought to Exegol to be trained as Stormtroopers? Is this film telling me that Sidious and his gang were able to bring tens of millions of people to Exegol over the years, and no-one either followed them or tried to escape once there? No-one sent out a covert signal to the rest of the galaxy?

Also among the retcons were the Knights of Bloody Ren. They’re back … although actually, are they? Have we ever even seen them? I think we saw them in a flashback in TFA or TLJ – they didn’t really do anything – they just stood there, as far as I can remember. I think that’s all we’ve ever seen of them. And I think we only see them in two scenes in this film – once on Kylo Ren’s First Order ship, and then once on Exegol, fighting Kylo Ren. This is sort of a retcon, in that they’ve been retconned into existence after being conspicuously out of existence. I’d reckon they were included in this film just because fans would have questioned it if they weren’t, but their inclusion is just baffling. We still know nothing about them. We don’t know who they are or what they want. And we can’t figure out what they want here, because their decisions don’t seem to make any sense. In the previous two films we were given the sense that they were very loyal to Kylo Ren, even though we never saw them. In this film, apparently, even though I don’t know how they know that Kylo has changed sides, they somehow do, and instead decide to serve the Emperor – so apparently not that loyal to Kylo in the end. So in the end, the Knights of Ren were completely fucking pointless. We still don’t even know what ‘Ren’ means.

And then finally (yes, we’re finally there), there were some retcons to Luke and Leia. Leia was now a Jedi all along, apparently, which explains how she was able to train Rey, but is not sufficient for how she was able to survive in space without any kind of spacesuit. Luke was also made more Jedi-master-like in this film, perhaps in a direct response to fans.

Furthermore, as part of this film’s ‘fuck you’ to TLJ, when Rey throws her lightsaber into a fire, Luke catches it, and they have him say the line ‘The weapon of a Jedi deserves more respect.’ – that’s a direct response to fans hating it when Luke threw his lightsaber over his shoulder in TLJ.

I’m sure there are more retcons than that, but those are all the ones I wrote down. You see why now I’m having to write out my thoughts on this film over several blog posts and videos – this blog post is almost 4000 words long, and this is just the retcons in the film.

These retcons alone mean that this film is incoherent, and the Star Wars universe is broken. This is not a universe where things make sense. You cannot anticipate what characters might do, because it is not based on the things that have so far been possible in the universe, any reasonable approximation of realistic logistics, or previously established character traits and motivations. It all just happens. Any future films and television shows cannot receive any of the benefits of being part of a shared universe, because they aren’t – a shared universe depends on consistency.

If there had been no other problems with the film, the existence of all of these retcons alone would have made it a disastrous film. As it was, there were loads of other problems.